lionel-libson-1 Reviews

Birdman or (The Unexpected Virtue of Ignorance) (2014)

A classic example of what's wrong with Hollywood

[1/10 · 21 March 2015]

So, it was my 78th birthday, my son had come up for the occasion, and suggested we see a movie, specifically, "Birdman". In my youth I had a deep passion for comic books. Like the cars of the 40's and 50's, the comic book characters were individual, idiosynchratic and highly enjoyable...so what went wrong with "Birdman"? Everything!.

A talented writer creates recognizable characters, people for whom we feel sympathy or empathy. In this film, if you close your eyes, you can't tell who's speaking, and like Rhett Butler, frankly you don't give a damn.The writers seemed to believe that constant, mindless profanity would create viewer interest. Instead,all that puerile use of copulative, sodomistic language numbs the brain.

I had a dental appointment the next day, and the dentist asked what I thought of the movie. My reply..."I think i just wasted two plus hours of my life." And at my age it's a helluva loss. In summary, it puzzles me that the Academy could find any redeeming qualities in this avian misadventure.

Love Is a Ball (1963)

The unspeakable in pursuit of the unbearable

[1/10 · 29 April 2012]

Another Sunday evening blunder...when will I learn? Ah, the sins of my old age! This film has everything! Bad lighting,stiff, embarrassing performances--a prancing, mincing Kojak? (Telly Savalas)...Glenn Ford with a crankcase of oil in his hair...obviously, the script had been flung in the air, and the pages re-assembled haphazardly.

The 50's diner lettering in the credits should have been a warning to me. But, fatigue,unfavorable sports results, conspired to lower my TQ(Taste Quotient) I realize this is marginally a review and more a cri de la coeur, but I cannot accurately describe a plot so contrived, so smirking, so typical of movies of that period. The Hudson/Day comedies seem like Ingmar Bergman gems in comparison.

The only surprise came at the end, when this cinematic disaster "thanked" a handful of locations, institutions who had cause for a lawsuit for injury to their reputations.

With Byrd at the South Pole (1930)

breathtaking, daring...and human

[10/10 · 30 March 2012]

A few nights ago, my wife and I found ourselves talking about family problems at 3am. Sleep seemed impossible, so we went to the TV to find a more soothing mood. And there, on TCM, we found "With Byrd at the South Pole. Byrd stood nervously before the camera, stiffly, nervously trying to communicate the scope and dangers of his mission. The nervousness was in stark contrast to his absolute sure-handed, calm planning and control in the most trying circumstances.

We marveled at the thoroughness and foresight of his planning, his concern for the safety of his crew--no one died on the mission, despite blizzards, crevasses, 4 straight months of no sunlight,and icy , treacherous footing, with temperatures reaching -72 F.

Most outstanding was the Oscar-winning cinematography, unself-consciously artistic and breathtaking. We often wonder, watching adventure films, how cameramen somehow manage to be on a mountain peak before the climbers, wrestling heavy, awkward burdens of cameras, film and tripods. In this documentary, the visual thrills are endless and revelatory.

One of the most interesting aspects of the film is the quiet dignity, humanity and willing work of the 42 trekkers. There is no evidence of complaining,a quiet competency and absolute dedication to hard work.There is a moving episode as a lead dog, overcomes illness and infirmity in a heartbreaking attempt to stay with the sled dog teams.

This film is less "dramatic" than Flaherty's epics, but totally involving in terms of our emotional involvement.Find this film gem if you can...it's unforgettable.

The Guns of Navarone (1961)

inconsequential truth

[4/10 · 14 February 2012]

February is the cruelest cinematic month for me. It is then that TCM devotes its schedule to Oscar winners. I am immediately reminded that the Oscars are essentially a vote by union members, not to be confused with the sensibilities of auteurs or cineastes.

"The Guns of Navarone" is a typical product of popularity rather than cultural contribution. Overlit, stilted, pseudo-heroic, and ultimately, somewhat nonsensical, the film tries to ignore its basic illogic.

Gregory Peck is his usual wooden self, a most unlikely mountain climber and even more unlikely to pass undetected speaking midwest American German, while posing as a Nazi officer. I kept visualising my German son-in-law looking quizzically at Peck, wondering what language he was speaking.

The climactic gun destruction scene is marred by the revelation that the triggering devices for the explosives have been destroyed. Peck then, ignoring this development, tells his crack team, "Alright men, you know what you have to do!" Monte Python might have responded, "Run away! Run away!!!" I found it difficult to grasp why Niven and Peck would not have smashed the telemetry equipment, rendering the guns unusable...but I'm just sayin'. Save us from such "epics."

Detour (1945)

A comedic delight!

[1/10 · 10 January 2012]

It was not a dark and stormy night. My wife and I had searched NETFLIX for anything worthwhile(streaming).We came across "Detour", listed as a film noir classic...oy! And yet, truly, unintentionally hilarious. This is less a review than a list of absurdities and blunders; a film tailor-made for Mystery Science Theater.

Our hero, a poor man's Alan Ladd,is an embittered, unsuccessful cafe pianist--more of a key duster than a musician, whose girlfriend decides to take off for Hollywood, though it's obvious that she is 15 years past her starlet stage.

Neal takes off hitchhiking to Hollywood, with no money and a ratty suitcase. In a montage of pickups we realize that the film has been flipped, as he keeps climbing in the driver's side. At one point, he seems to be going back east, but there was no money for a re-shoot.

My doctor has warned me not to attempt to reprise the plot, but I must single out two highlights.His "ride" mysteriously dies, and Neal assumes his identity. Wanting to know more personal details in order to pull off the identity theft, he searches the dead man's luggage, finding a letter that had been mailed to the dead man's father! How did he do that?!!

A tough dame has blackmailed him into a state of absurd captivity. When they stop at a motel, she locks him "in" the room they share, with a key that seals them both magically into the room, ditto the window--they're on the ground floor.

The dialogue is a strange mixture of tough snarls and classical literary references. If you need an emotional pick-me-up, and a Dadaist cinema experience, grab this film! You'll laugh! You'll cry! You'll hate yourself for throwing away an hour+ of your life.

Young and Innocent (1937)

self-imitation

[15 October 2011]

I'll start by admitting I'm not a great fan of Hitchcock. There is innate artistry in his use of the camera and illustrator-like imagery,more art than technology.

I had not seen this film before, a late night arrival on TCM.There is an almost primitive quality to the plot, the actors and most of all,the staging. At one point we recognize that we're looking at a model train set with plastic figures. The black-face scene alluded to in an earlier review is more bizarre than racist; a minstrel group in an "elegant" hotel makes no sense at all.It furthers the plot, but is truly ludicrous.

Hitchcock makes his obligatory appearance in a relatively prolonged scene, staring intently while holding what looks like a cheap Kodak camera.

But, to address my "summary" statement, the real eye-opener is watching Hitchcock imitate himself with references to "39 steps" and a preview of "North By Northwest" in a dramatic attempt to save the girl from plunging to her death. There are several of these borrowings, but i think it's more fun for viewers to spot them for themselves.

Despite my generally less than admiration for Hitchcock, there is always entertainment and memorable use of the camera.The film is worth watching as a peek at a master's sketchbook.

Ryan's Daughter (1970)

A cinematic masterwork

[10/10 · 5 February 2011]

When "Ryan's Daughter" first appeared, my mind was addled with leftist cant. Every entertainment had to pass a litmus test of relevance and adherence to popular political myths. Thus, when I finally saw the film on TCM last night it was a revelation.

Having retired a few years ago, to live in the craggy paradise of Maine, I was especially overwhelmed by the visuals of the gun runners facing a raging sea; incredible cinematography, music, spare, yet powerful, and the seemingly impossible scurrying of the villagers, dwarfed by thundering waves and spray. I'm not sure if the visual or audio components were more successfully realized.

We had visited Ireland 4 years ago, passing through the magnificent terrain and clustered villages near Dingle and the Cliffs of Mahre.As a photographer, I was astounded by the perfect portrayal of this startlingly beautiful region. By comparison, "The Quiet Man" looks theatrically artificial.

The story seems to have caused most of the negative criticism. For me, Lean maintained a steady balance between scenic splendor and pinched, frustrated lives. All are suitably restrained and all too human. The result is a truly timeless film, life and lives confounded by ignorance and anger, but as universal as a Greek tragedy.

"Ryan's Daughter" can be compared without embarrassment to "The Dead", my other favorite Irish cinema.

The Big Country (1958)

Big country, big mistake

[14 November 2010]

If this beautifully-restored film were a travelogue, then I would give it a galaxy of stars. Having traveled the West-Montana, Wyoming, California, etc, I can attest to the unbelievable vastness of the land.Wyler exploits this quality to the fullest. My 32" TV doesn't do justice to the enormity of the setting. Restoration work has imbued the film with a glowing spectrum of color.

Now the bad news. Wyler may have mastered the images, but he seems to have hired marionettes to replace the principals. Peck, Heston, et al, (exception ,Burl Ives), take turns posing stiffly, Peck's favorite posture entails turning slightly sideways, and staring balefully back at the camera. I suppose that was meant to show patient disapproval, or moral rectitude, or perhaps he had a stiff neck.

An interesting aside--there is an old joke about the captive Hebrews escaping from Egypt and wandering 40 years in the desert and settling in the one place that had no oil...here, we have cattlemen who have chosen what appears to be Death Valley as a great spot to raise livestock. There is no location credit, but my photo tour of that desolate, but magnificent spot, matches my collection of images. If Wyler and John Ford chose locations for beauty over sense, who am I to complain?

Kansas City Confidential (1952)

Is silly noir a category?

[2/10 · 14 November 2010]

As a kid in the 40's, reading comic books was a favorite avocation. But even at age 9 I knew there was a flaw in Superman--essentially horn rimmed glasses and a curled forelock were supposed to be enough to mask Clark Kent's super-identity.

Now, along comes "Kansas City Confidential", where face-covering masks make the bad guys unrecognizable...or do they? Well, if this film were anything but childish...NO! I imagine that the hired heisters decide to compensate for their "cloaks of invisibility" by behaving as suspiciously as possible. Example, hiding in a Mexican resort, they insist on wearing sleazy suits more appropriate to Times Square than a fishing ranchero. Payne assumes the identity of a weasely character noted for his chain smoking, then proceeds to play poker without so much as lighting a match.

I guess they're all in on the gag. The bad guys take turns acting as sullen and menacing as possible, and Payne, as the framed patsy is no better. Why not draw attention by snarling instead of talking? And why not skulk instead of ambling? Enough quibbling; even if I return to the quasi-innocence of my childhood, why put Kansas City in the title when almost all the action takes place in Mexico? And why would three hired henchmen settle for a torn playing card as a promise of payment? I did not need a suspension of belief so much as a suspension of credence. Oh, well, my advanced years(73+) may help me forget this film.

Mickey One (1965)

Oh, man!

[25 October 2010]

Like I knew this was gonna be a long night when I heard the west coast jazz opening. Penn obviously confused film making with Calvin Klein commercials. So, like Warren's in a tough spot--tough because he doesn't know what he did wrong--shades of Huntz hall being smacked in the head by Leo Gorcey--"Wha'd I do? Wha'd I do?" This causes the music to get louder and the camera to move jerkily, like my uncle's home movies. The puppet actors are forced to give us slabs of bad Brando, letting us know that ultimately the whole film is a waste of time. If I wanted to show angst and psychosis, I'd have taken camera and crew to the Motor Vehicle Bureau in Yonkers, and just alternated between the waiting dead, the agonizing number change on the electronic board and the sleepy indifference of the clerks. I wouldn't need no stinking music to scare or confuse. A half hour would be enough to send the audience screaming into the streets.

I had graduated Art School five years before this film was made, and agonized over predictable, gritty shots of litter and urban decay. It was "deja vu all over again!" There's a Ray Bradbury short story about a tourist in Mexico who sees an "interesting" crack in a wall of a house and asks the dweller to pose for a shot beside the crack...which he does by urinating.! "Mickey One" had a similar effect on me.

Design for Living (1933)

Did she say "that"?

[19 October 2010]

Lubitsch is always entertaining, and "Design For Living" is no exception. The casting is perfect, with Cooper establishing a comedic capability. The sets are threadbare but consistent with the zeitgeist of this variation on "La Boheme".Horton, as usual, is an ideal foil for the free spirits around him.

I view this film as a "gay" adventure, using Miriam Hopkins as a woman in drag.Seen in this light, the sex in question takes on a different inference. Here, traditional marriage, children, etc., become irrelevant. The same could be said about "Breakfast at Tiffany's" or any of Joe Orton's plays.

The script, Ben Hecht's rewrite of Noel Coward, occasionally slows to a wordy crawl, but a piece of comic action or verbal duelling saves the day.

Near the end of the film, in a climactic argument between Hopkins and Horton, Gilda blurts what sounded to my timeworn ears like a classic expostulation. lacking a DVD to stop and replay, I'll leave it to the IMDb authorities to verify or refute. It was an entertaining enough film to get me to switch from the Yankee/Rangers game.

The Fountain (2006)

Two hours can feel like a millennium

[25 August 2010]

I sometimes wonder if I'm sharing the same planet. I recently rented this film from Netflix, anticipating a time-warping, mind-bending experience. Instead, I found a new archetype for fatuous pretension. Under-exposed film and sparkling lights cannot mask empty prattle. I kept waiting for the camera's f Stop to be adjusted, and something meaningful to happen. No luck!

As one who has read and enjoyed science fiction for sixty years, from H.G.Wells to Bradbury, Asimov and Clarke...from Jules Verne to H.P. Lovecraft, I found this abomination to be devoid of any value. The scientist ranted and moaned, and most tellingly, swept and scattered reams of research documents in a fit of pique. Had the rest of the film dwelt on him gathering and re-assembling the papers, it would have been more entertaining. In desperation, I clicked "fast forward" hoping to find something, anything! to stir the ashes.No luck.

In an old joke, a man climbs the Himalayas seeking an answer to the meaning of life. On a windswept crag he encounters a mystic sage...

"Please, sir, I've traveled the world,hoping to discover the Meaning of Life...can you help me?"

After sitting impassively for an hour, the old man replied, "Life is a fountain pen." Incredulously, "LIFE IS A FOUNTAIN PEN??!!"

"Life ISN"T a fountain pen?"

Now THAT was profound.

A deeper mystery--who puts up the money for films like "The Fountain?

Last Chance Harvey (2008)

Lost chance for a great movie

[30 July 2010]

What a comedown! Dustin Hoffman! Emma Thompson! Love among the ruins, redux. And then the film. Oy! One of my least favorite film clichés is having a couple begin what you hope will be a magical evolution of a relationship, become a "Hallmark moment" of sappy music and no words. I suppose I could imagine the dialogue,but where's the pleasure in that? Was it too much for the screenwriter to conjure adult conversation between two fine actors, giving us a sense of what the connection was, beside Hoffman's formulaic grin, or Thompson's greater acting range.

By the way, did they have cell phones that could not be turned off? We learned much about what killed Harvey's marriage when he managed to "lose" Emma at the reception. His self-involvement trumped his ability to stay focused on another.

In summary, despite the talent, the film had all the depth, and similar values of a campaign ad with soft, glowing images,insipid music and a fadeout suggesting a glorious tomorrow.

Where's my insulin?

Gloomy Sunday (1999)

something(a lot) borrowed, something blue

[24 June 2010]

"Gloomy Sunday" shamelessly borrows elements of "Jules and Jim" and "Schindler's List", but wraps itself in a gorgeous staging of Hungarian gemutlichkeit. It is truly a treat for the senses, while telling a tale of horror and revenge.

The players provide intriguing personalities without calling undue attention to themselves. The terror of Nazism creeps up in sidelong views, ultimately bringing an unbearable oppression to the former innocent, pre-war bonhomie.

It was a surprise for me, discovering that the haunting theme had a real-life history and terrible association. I would recommend YOU TUBE with the Paul Robeson, and/or the Pyotr Leshnikov interpretations.

Budapest deserves extra credit for its charm and allure. Altogether, an unforgettable cinema experience.

Chatterbox (1936)

A good little movie that could have been more

[17 May 2010]

Once in a while a film shows up on TCM that is a small gem from the past. "Chatterbox" is just such a film. Set mostly in a small town, it stars Anne Shirley, little-known today, an actress who gave up a career in film while in her twenties. She lives in a mind-world of the late 1800's, a world of genteel manners, romantic writing, and little sense of irony. Her mother had been a noted actress and Shirley aspired to the same. The charm of the film lies in its detailed portrayal of small-town America. There is an honesty in the dialogue and behavior.

Without divulging too much plot, I must add that the revelation was Erik Rhodes, the pencil-mustachioed, gigolo of Astaire-Rogers movies, here, sans moustache,and Italian accent, a Broadway wise guy director.Throw in a very young and very blonde Lucille Ball and you have a diverting entertainment. The scene of Shirley's stage performance is wonderful.

Look for this film as a memento of an earlier, more innocent age.

Tropic Thunder (2008)

Downey, Cruise and nothing

[23 February 2010]

This film is part of a limited, but toxic genre, a category I call, "Gene Wilder Gone Mad". It is driven by vanity,(Stiller's) and his mistaken belief that anything he does is hilarious. Unfortunately, we are left to fast forward around him to get to the nuggets of talent that characterize Downey's tour de force. Much sound and fury,about less than nothing.

By contrast, it is astounding to watch Downey present us with simultaneous layers of an actor-within-an actor within an actor walking through a meaningless film while stepping back to remind the cast and us that it's only a movie.

Downey's take on acting black--or is he "being" black, is in stark contrast with the film's take on Asians, reminding one of Brando's comment on Larry King's show several years ago. in which he described Hollywood as the most racist of cultural centers.

And then there's the surrealism of Tom Cruise's performance; astonishing! My final thought is that Ben Stiller should step back from believing his, or his friend's flattery. It's like the manager of a ball team--I think it was Chuck Dressen and the Dodgers, saying, "Act as if you've been there, before!"

Nowhere (1997)

omg

[25 December 2009]

Being a devoted Direct TV customer brings a strange and questionable benefit.Each year there is a 2-month free access to Showtime, including IFO, an acronym for It's !&%#!! Obscene--not in the sense of pornographic, rather an obscene waste of time and resources.

I'll admit to being over 70, therefore way beyond the age of understanding the nihilism of today--or was it yesterday? Whatever. The sheer idiocy and self-involvement of the characters, the sloppy editing, pretending to be edgy, the predictable twists and turns, make this the perfect movie to watch during the endless commercial breaks in football broadcasts. The "romantic" encounters can only be described as reptilian; it's like watching the courtship of iguanas.

As an artist/photographer, with a few surviving friends, I have always enjoyed meaningful cinematic innovation. This film ain't it! It brings to mind a TAXI episode, a flashback to Ignatowski's days at Harvard in the 60's. A young Tom Hanks does a great turn as a stoned classmate. He's lying on the floor of Iggy's room, entranced by a lava lamp. In disgust, a pre-drug Iggy pulls the plug. Hanks looks up in dismay and anger, asking "Oh, and now what"? My feelings exactly, about "Nowhere.

Ziegfeld Girl (1941)

I saw stars...knocked out by cinematic mess

[20 November 2009]

I am second to no one in enjoying hokum in films. The loonier the better. Unfortunately, "The Ziegfeld Girl" is a sad waste of talent and energy. Except for the "Chasing Rainbows" number, the other songs are either lackluster or mangled in production.

This brings me to the sad story of Busby Berkely. There is no doubt that his contributions to early movie musicals were immeasurable. But there is also no doubt that in this film he was defeated by technology and, perhaps, lack of sleep.

As to the former point, film lighting and quality took a leap forward in the late 30's and early 40's. Unfortunately, this progress took the glamor and sizzle out of the movie. All the mid-tones lacked the high-key excitement found in the earlier musicals. There was no sense of theatrical lighting, an overall flatness made the production numbers appear as though the house lights had been left on.

On the latter point, lack of energy, much of the production numbers appear to have been focused or composed off-center. We see 2/3 of the screen occupied by stairs and curtains, and slivers or portions of the performers. The Berkeley signature geometry is replaced by poorly-positioned camera work. Compare this film to "Gold Diggers of 1933" and the differences are glaring. And with Judy Garland, no less!!

The story was goofy enough, but everyone seemed to have lost interest in making the film. Lana Turner's beauty was buried by indecision about who she was supposed to be.

It all reminded me of a hilarious Sid Caesar sketch...a movie called"The Termite", in which an injection had made him a wood-eating monster. At the end, before being led away, he's asked, "How do you feel about all the bad things you've done?" "I'm sorry", he replies.

"For all the killing?" "No...for making this movie!" Carl Reiner and the rest of the cast join him in apologizing.

As Long as They're Happy (1955)

Oy!

[22 October 2009]

With this film, the British have forfeited the right to EVER criticize American culture. Where to begin,Where to begin...the plot is indecipherable. One suspects that the script was dropped before binding and a windstorm scattered the unnumbered pages. The result is a surreal series of vignettes that float detachedly with no connection to each other.

The Johnny Ray send-ups are amusing, particularly Buchanan's version of "Cry". Having seen several Buchanan early films, including a takeoff of Twain's "Connecticut Yankee...", I know that he was capable of much better, but the film is/was impossible.

Another aspect deserving of mention is the set design. Could English homes and interiors have really been so ugly and banal? The wallpaper! The furnishings! Oh, the humanity! There is the payoff of "Miss Marple" (Hickson) as a barmaid, and Diana Dors breasts deserve an Oscar for best supporting something or other.Sometimes a film can be so bad that one must watch it to the end, as one would slow down for a car crash. If there's an award for FilmKitsch, we have a winner.

Painted Lady (1997 TV Movie)

sloppy painting

[1/10 · 31 July 2009]

Reading the first comment, I wasn't sure that it was the same film I had just agonized through. From dialog to confused plot "Painted Lady" qualifies as a true Disaster film.

Where to begin? I fear that dissecting this cadaver would entail too many spoilers, though spoiling this film would be a redundancy.

There are enough clichés of plot and language to satisfy any B movie connoisseur. Characters come and go, money changes hands, Mirren repeatedly walks into dangerous situations, escaping primarily, through editing cuts to the next scene with no explanation. Near the end of the film, where she barely escapes with her life, we see her walk away without a huge painting that is the raison d'etre of the film. Once again the editor steps in to correct the oversight.

Details of plot and dialog are changed at will, leaving one to wonder about what is really going on. Helen Mirren seems to have reverted to her days in "Caligula", not on a sexual level, but rather for being associated with a story too banal for pulp fiction.

Reviewing my comment, I have been a trifle negative...only because of my self-restraint.

A Touch of Frost (1992–2010)

Another English treasure trove of acting

[10/10 · 13 May 2009]

Where do they come from? After 35 years of British films and TV series, I continue to be astounded by the seemingly endless stream of outstanding actors(both sexes). I discovered "Touch of Frost" while searching Netflix for new detective series'.

What I found was this rumpled little guy who was absolutely riveting, not through histrionics, but by becoming the character he portrayed. I would not have been surprised if they announced that Frost was a real person. There is one scene in the first episode in which you find yourself holding your breath as he quietly, matter-of-fact, bares his soul. It happens without warning, but with the realism of a half-finished drink in a dimly-lit bar.

Now we have many more episodes to share, enjoy and discuss. Jason, and the entire cast, and particularly the writers, are to be applauded.

Sunrise (1927)

Where am I?

[6/10 · 23 March 2009]

Murnau seems to be gaining a new appreciation among cineastes. I had just finished watching a beautifully restored print of "White Mane", Lamorisse's masterpiece, and tuned in TCM's Silent Sunday feature, Murnau's "Sunrise".

First, I must agree that his imagery is superb, a cinematic Atget.The downside was the plot. A muddled variant on Dreiser's "An American Tragedy". There seems to be a recent trend toward "drown your lover" films. The matter-of-fact aspect of the murder plot left me wondering about the seeming lack of humanity. Saying more would be revealing too much. Suffice to say, I was left to speculate about what constitutes a deal-breaker in a marriage.

The more confusing aspect was the sense that middle Europe was a suburb of Los Angeles. We drifted between the Black Forest , 1920 Berlin and L.A. Villagers evoked scenes from "Frankenstein"--not horror, but peasant life.

The most telling scene for me was the open trolley ride from forest to big city. It was a magical scene, moving through space and time. It recalled for me the similar ride in 1940's Philadelphia from Fairmount Park to Woodside Amusement Park.

Given the time in which "Sunrise" was made, it certainly broke new ground in imagery. Unfortunately, the narrative was More banal melodrama.

Land of the Blind (2006)

everything borrowed, something blue

[17 February 2009]

As I scanned earlier comments about "Land of the Blind" I was struck by the failure to recognize that this film cobbles together elements of Orwell,"1984", "Z", "Clockwork Orange", "Marat/Sade", etc..

I suppose when one lives long enough(72), there is no surprise when others find novelty in a regurgitated past. Even the music,(particularly Schubert's trio theme) presents us with a Kubrick/Proustian remembrance without the substance.

Although many seem to find an echo of the W Bush years, I find myself sensing a brave new world aspect to our new President. Mantras for "change", iconic adulation, even an Inaugural speech in which we are referred to as "My fellow citizens"--Robespierre redux.

Fiennes, as usual, is compelling, even when it's not clear that his own actions were spurred by a higher morality. Castro was indeed a hero in the 50's, but his half-century left a river of blood and suppression. It is clear in the film that principles are the first victims of power.

I think that before audiences stand and applaud this film, they should ask themselves if they are ready to stand up to tyranny, even if it is well-spoken and attractive. I doubt if most viewers were alive during the McCarthy years, or recall Hollywood's total capitulation to the witch hunts or blacklists. Nor do they remember Stalin's trials, Mao's re-education programs, or so many other acts of oppression.

I realize that I've strayed from a direct review of this film, but I'm dismayed at all that has been forgotten or overlooked by those who seem anxious to fight for freedom.

Adam's Apples (2005)

Lugubrious comedy?

[13 February 2009]

Until I saw this film last night, I thought that Bjork was the ultimate in significant meaninglessness. A new standard has emerged. If I didn't know the heroic role of the Danes during WWII, I'd have been less annoyed by the passive passion and empty moralizing.

The Book of Job plays a role in defining the action, and might have added a powerful message about man vs. God. Unfortunately, the writer seems to have skipped the poetic climax of this scriptural story."Where were you when I laid the foundations of the earth?", God replies to the torment of Job. Archibald MacLeish and Tom Paine understood the magnitude of this question. Few things are as frustrating as a script that is overwhelmed by the concept it addresses.

Even the "assault" on Big Oil is trivialized as a ransacking of a filling station, making victims, not of the Wealthy, but of their underpaid employees.

The Director has managed to place an emotional filter between the viewer and the screen. Do we care? Is there a connection? Perhaps for those pathetic individuals who gather stoically around a traffic accident. I think I should lie down and wait for my feelings to subside.

A Man Escaped (1956)

The viewer becomes a prisoner

[10/10 · 2 February 2009]

I came upon this film only recently. I am not a great fan of French cinema, perhaps because of an antipathy toward the culture or attitude I've encountered in visits to France. Obvious exceptions, for me, are Tati's marvelous films, "Rules of the Game" and "Children of Paradise".

Bresson enjoys a justifiably elevated place in cinema's pantheon. As a quote indicates, Bresson saw cinema not just as an art form(he was a painter), but as a language, with idioms of image and sound. He eschewed emoting and set-building, seeking an essential sense of reality, not theatricality.

"A Man Escaped" is a vivid example of this style and philosophy. Bresson takes us into a Nazi prison in an intimate, claustrophobic style, making us, in effect, share the caged atmosphere of the prison. We become acutely aware of the grim routine of life and death within the walls-never witnessing death, but in true Bresson style, hearing the rattle of gunfire as an indicator. Sounds are an integral aspect of the film, scraping, trudging, squeaking, small, but dramatically charged.

A retired photographer friend of mine spent two years in "The Great Escape" prison camp. The prisoners there, mostly British airmen, made escape their reason for being. Despite ingenious methods and arduous tunnel-building, of the dozens who made it outside, only two men actually truly escaped. The others were recaptured, and the last group, summarily executed.

Knowing this added an element of anguish to watching the desperate efforts. A happy ending was not guaranteed.

The actors do not look like actors, and their speaking style is quite minimalist, imparting a documentary aura to the film. Bresson spent a year in a prison camp, giving us the sense of being there through his attention to the minutiae of prison life.